KVM SYSTEMS to these tools, Riot uses Calrec’s new REMI audio products, such as the RP1 remote production unit with DSP, which allows latency-free IFBs to be generated at the remote site and subsequently controlled from a Calrec Artemis mixing console at the L.A. facility, which utilizes an in-house Riedel system for VoIP communications with the remote locations. With 10 cameras dedicated to the two competing five-person teams, each event garners roughly 30 or more inbound live 1080p60 video and 40 audio input signals to L.A., with an additional 10-15 outbound video feeds for various purposes. During finals, which include opening ceremonies featuring live entertainment and musical performances, audio fills a 64-channel MADI stream. Riot developed this groundbreaking at-home production infrastructure while simultaneously adopting a Haivision transport to significantly reduce bandwidth requirements. What once required 8.7Gb using JPG2000 compression over SONET lines has been reduced to 1.3Gb and now handles additional paths and encoders. During the on-site production portions, audio is sent through a router and into a Nevion multi-format contribution codec, which encapsulates the MADI stream. In L.A., the incoming signals are routed to the Nevion decoders then into the Calrec mixing console. Video signals are con-
verted to baseband and fed into the switcher, similar to the format of a production truck. Working with IP transports also requires the production to carefully manage firewalls and potential IP address conflicts. When two back-toback shows are leapfrogging, relevant production components must be on a separate address for each show. In some cases, Riot uses a 10.22 network, the class A block of IP space reserved for private networks worldwide, but the two productions can’t be tied together over the same address. So, for the second show, paths are assigned to different addresses, and the audio engineers subsequently manage their own switchovers. Of Riot’s 18 or so eSports distribution partners, only the four with the largest audiences can de-embed the multiple stems, ISOs and other sources necessary to build their own shows. Additionally, although surround formats are supported by Twitch and YouTube, events are currently produced in stereo as most partners can only take a two-channel mix, which are pulled from the Internet. People then watch the events on a variety of devices, including phones. In this way, Riot is breaking down the walls of traditional sports broadcast workflows, which will result in more shows, games outlets and viewers.
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